BROOKLYN ACADEMY OF MUSIC PRESENTS

THE SIXTEENTH ANNIVERSARY OF DANCEAFRICA HAS BEEN MADE POSSIBLE BY AT&T 1993 DanceAfrica Journal

Editor: Sean Keepers Designers: Henry C. Blazer, Sean Keepers BAM Design Photographer: David Lee except where noted Cover Artist: Ron Mclean Printed by Venture Graphics 406 West 31st Street New York, NY 10001 TABLE OF CONTENTS

DanceAfrica Festival1993 ...... 3

Letter from Harvey Lichtenstein, President and Executive Director, BAM ...... 4 Letter from Robert Allen, Chairman of the Board, AT&T...... 5 Letter from Chuck Davis, Artistic Director, DanceAfrica ...... 8 Honorees of DanceAfrica 1993 ...... 10

Program 1, Friday, May 28 8pm ...... 12 Program 2, Saturday, May 29 2pm ...... 13 Program 3, Saturday, May 29 8pm ...... 14 Program 4, Sunday, May 30 3pm ...... 15

"What Do You Dance? " by Chuck Davis ...... 19 "We Remember ... We" by Mikki Shepard ...... 20 The Council of Elders ...... 24 The Performing Artists of DanceAfrica 1993 ...... 25 Day of Dance Symposium ...... 55 BAM Board of Directors and Staff ...... 56 DANCEAFRICA 1993 HAS BEEN MADE POSSIBLE BY - BATs.T -

ADDITIONAL SUPPORT HAS BEEN PROVIDED BY

THE HARKNESS FOUNDATIONS FOR DANCE NATIONAL ENDOWMENT FOR THE ARTS MARY LIVINGSTON GRIGGS AND MARY GRIGGS BURKE FOUNDATION NEW YORK STATE COUNCIL ON THE ARTS NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS

SPECIAL SUPPORT HAS BEEN PROVIDED BY

~ f~l Starrett (/]Iaker (h,l c onserve histant Ed1'§01'1 energy at cSjJring Creek GRITS

COMMUNITY INITIATIVES AT BAM ARE MADE POSSIBLE, IN PART, BY

IBM CORPORATION THE METROPOLITAN LIFE FOUNDATION

A CONSORTIUM OF CORPORATIONS LOCATED IN DOWNTOWN BROOKLYN AND COMMITIED TO THE FUTURE OF THE ARTS AT BAM, HAS PROVIDED SP ECIAL SUPPORT FOR THIS PROGRAM . BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer

presents May 23-31, 1993 DANCEAFRICA

Artistic Director: CHUCK DAVIS

Musical Director: Bradley Simmons Lighting Designer: William H. Grant Ill Stage Manager: Ngoma Woolbright Assistant Stage Manager: Normadien Woolbright DanceAfrica Visual Artist: Ray Mclean Journal Photographer: David Lee

Sunday, May 23 Friday, May 28 Sunday, May 30 OPENING DAY CELEBRATION Program I DANCEAFRICA BAZAAR Procession of Imperial Bikers WE CELEBRATE AFRICA BAM Parking Lot Libation Ceremony BAM Opera House, 8pm 12 noon -7:30pm 3PM Saturday, May 29 Program IV Monday, May 24 DANCEAFRICA BAZAAR DEBELE SA KILALA MASTER CLASSES BAM Parking Lot BAM Opera House, 3pm 6- 9pm 12 Noon - 11 pm Monday, May 31 Tuesday, May 25 Program II Memorial Day MASTER CLASSES DANCE THE DANCEAFRICA BAZAAR 6- 9pm AFRICAN EXPERIENCE 12 noon -7:30pm BAM Opera House, 2pm BAM Parking Lot Wednesday, May 26 DAY OF DANCE SYMPOSIUM MASTER CLASSES Program Ill Sam- 7pm 6- 9pm THE GRIOT'S CORNER BAM Opera House, 8pm HARVEY LICHTENSTEIN President & Executive Producer

It's hard to believe that sixteen years have gone by since our first DanceAfrica. And a sweet sixteen it is! With over 400 artists, nineteen companies, four performances and a three-day Bazaar, this is our largest Festival ever- indeed the largest festival devoted to the rich legacy of African dance and music in the nation. Chuck Davis, the Festival's Artistic Director, has put together an impressive week packed with the energy, power, rhythm and color of Africa which kicked off on May 23rd with a motorcycle procession from Harlem to BAM and ends with a full day of dance on Memorial Day.

DanceAfrica is about joy, heritage, affirmation and community. Over the past 15 years, DanceAfrica has become a neighborhood tradition, draw­ ing thousands of BAM neighbors annually. DanceAfrica is about revisit­ ing the past and looking to the future-every company that has per­ formed in the past 15 years has been invited back to present new work. It's about young people and adults, children and parents, with matinee performances and special workshops for children. It's about looking, lis­ tening and especially, doing-taking part in the experience through mas­ terclasses, panel discussions and symposia.

Together with our friends at AT&T, I am proud to welcome you to this extraordinary week. Special thanks to Con Edison, Starrett at Spring Creek and Quaker Instant Grits for their generous support.

Here's to the coming of age of a BAM tradition. ATaaT

ROBERT E. ALLEN Chairman of the Board

For more than a decade and a half, the DanceAfrica Festival has brought us a week of music and dance, community involvement and just plain excitement.

DanceAfrica is a unique, family-centered experience that has brought home the richness of African culture to thousands of African Americans, as well as people from other backgrounds.

11 The fact that DanceAfrica 1993 is the Sweet 16 II celebration of this annual event is a tribute to the vision and the persistence of the Brooklyn Academy of Music, and to the festival itself. At AT&T, we're proud to be sponsors of both.

Congratulations to all involved for producing an experience that gets better every year.

Sincerely,

.. CHUCK DAVIS Artistic Dire ctor of Da nce Africa

DanceAfrica, under the auspices of BAM, has graced our community annually for the past sixteen years. You, its audience, have grown from a few hundred applauding in the BAM Playhouse to thousands accompa­ nying their screams of excitement with thunderous applause and foot stomping as the Opera House, filled to standing-room only capacity, rocked from side to side, buffeted by the sounds of many drums. Dance company directors have written special grants and waited over two years for their chance to share their talents with the community and each other. Scholars have held our attendees spellbound as little-known facts about Africa were revealed during seminars and master classes. DanceAfrica has grown. Our Motherland, Africa, is pleased.

African Dance and Music is the essence of life. From ancient times to the present, we have revelled in the joy and beauty of our African her­ itage. We have listened as the elders poured knowledge over and into our minds, as the rhythms of life sounded all around us during the heal­ ing ceremonies which united our communities. African Dance and Music, with its ability to foster and support the long-awaited UMOJA, will once again motivate us to greatness.

Traditional African values and cultures have been corroded by seculariza­ tion, imposed on by materialism, and beset by role models educated under systems designed to foster separation. But truth cannot be shrouded forever. Dance and Music will lead the way as we set a course to assist our Motherland in her return to GREATNESS. Let UMOJA and HARAMBEE be the hue and cry from every point as we strive for aware­ ness, understanding and a deeper respect for our people and our AFRICAN HERITAGE.

A UNITED AFRICA WILL UNITE THE WORLD . Peace and Love I niques with America's great dance pioneers-Martha Graham, Doris Humphrey, Hanya Holm and Charles Weidman. She was trained in classical and preclassical dance forms by the master teacher, Louis Horst. Her knowledge of ballet, character and folk dances of Europe and America as well as her solid base in cre­ ative modern was gained by study at the New Dance Group in New York City. Travel and study in the interi­ DR. PEARL E. PRI~US or villages of Africa, the Islands of the Caribbean, and BABATUNDE OLATUNJI throughout the southern US gave her the unique train­ CHIEF BEV ing which characterizes her as the specialist in the dance heritage of Black people. Dance critic Walter norees Terry called her "the world's foremost authority on African dance." II DR. PEARL E. PRI~US,. I internationally famous American anthropologist, BABATUNDE OLATUNJI choreographer and dancer, is an outstanding lecturer "Rhythm is the soul of life. The whole universe in the field of African ethnology, dance and African­ revolves in rhythm. Everything and every human action American studies. She has lectured at universities and revolves in rhythm." - Olatunji centers of learning throughout the United States, Europe, and West Indies, Mexico, Israel and Africa. Babatunde Olatunji is "Master of Drums." In the gifted She is listed in Whos Who in America for her great hands of Olatunji, virtuoso of West African percussion, contribution to American culture. drums and rhythm become instruments of both individ­ ual and global transformations. Winner of the last grant from the Julius Rosenwald Foundation, Dr. Pearl Primus has done extensive Born and raised in Nigeria, Olatunji was educated at research in Africa, has lived with the people in the inte­ Morehouse College in Atlanta and the New York rior villages, shared the experiences of daily life with University Graduate School. At Morehouse he began them and danced in their ceremonies. She has also performing informally, entertaining fellow students. As done research in the Caribbean Islands and in the the demand for his "new" music increased, he entered southlands of the United States. She earned her Ph.D. the professional music field. in anthropology from New York University. In the fields of Anthropology, Art and Human Relations, the names In 1959, Columbia Records released Olatunji's first of those great teachers who shared their knowledge album, Drums of Passion, which became an unprece­ with her include Ruth Benedict, Franz Boas, Ralph dented, across-the-board smash hit. Drums of Passion Linton, George Herzog, Margaret Mead, Duncan was the first album to bring African music to Western Strong, Paul Wingert, William Sears, and many others. ears, firmly establishing Olatunji as Africa's most visible export. Early career milestones included performances On July 9th, 1991 the President of the United States at Radio City Music Hall and the 1964 New York World's presented Dr. Primus with The National Medal of Arts, Fair, as well as 1V appearances on programs like the "for weaving together dance, choreography and Tonight Show, the Mike Douglas Show, and the Bell anthropology to explore themes of spirituality and Telephone Hour. Olatunji has written many musical heritage ... " This is the National Endowment for the compositions, including the scores for the Broadway Arts' highest honor. and Hollywood productions of Raisin In The Sun.

As choreographer and dancer, Dr. Pearl Primus has Thirty years ago, Olatunji's dedication to the preserva­ had the privilege of studying modern dance tech- tion and communication of African culture led him to 3l ...J :Q > 0"' 0

Dr. Pearl Primus Babatunde Olatunji Chief James Hawthorne Bey II establish his "dream"- the Olatunji Center of African Chief's career flourished with concert tour engage­ Culture in the heart of Harlem. He has presented ments with such eminent groups and individuals as African music, drumming, dance and crafts in perfor­ the Howard Roberts Chorale, Olatunji, Dingulu, mances and workshops, not only in New York, but Randy Weston, Katherine Dunham, Pearl Primus, throughout the world. During the 1986 Liberty Week Solomon llori, Herbie Mann, DanceAfrica, celebration in New York, Olatunji received the Liberty Caribbean Cultural Center, Spirit Ensemble and Award from the Mayor of New York in recognition of the World Saxophone Quartet. He recently did his efforts toward positive cultural exchange. the World Saxophone Quartet's 1992 European tour as well as the 1992 New Orleans Jazz Festival, Olatunji's dream is to establish a Center of African Arts where the group received an unprecedented in his hometown of Ajido, Nigeria, to ensure the per­ encore demand. Baba Bey has also recorded with petuation of African music and dance. such stars as Herbie Mann and Art Blakey, Olatunji, and many others. CHIEF BEV Chief James Hawthorne Bey was born in the town of Broadway appearances include the long-running Yamousee, South Carolina in 1913. While he was still classic Porgy and Bess with entertainment greats young, his family settled in New York City, where Chief Cab Calloway, Leontyne Price, Maya Angelou and Bey lived across the street from the Harlem Community William Warfield. He also did Raisin In The Sun Center. He took advantage of the opportunity this with Debbie Allen, Timbuktu with Eartha Kitt and afforded him and attended music classes taught by Melba Moore and The Shrike with Jose Ferrer. He lsamae Andrews. From Ms. Andrews he developed has taught at such institutions as the Charles the fundamentals in singing, drumming and dancing. Moore Dance Theatre, The Artists' Collective in Hartford, CT., the Bernice Johnson School, and His professional career began with his singing. the University of Connecticut, Hartford. Besides his gospel singing in the churches of Harlem, Chief sang and toured with the Eva Jessy Chorus as Chief James Hawthorne Bey is much more than well as the Hall Johnson chorus. Not content with a just an entertainer. He is Baba (father) to count­ single-faceted career, he became a master drummer less younger people, and he has given wise coun­ and developed a skill and artistic knack for making sel that has helped hundreds who have had the drums. He taught himself to play the sekere and to good fortune to be touched by him. do the intricate beading that transforms a gourd into a sekere. He is also an accomplished carver. DANCEAFRICA 1993

PROGRAM I WE CELEBRATE AFRICA Friday, May 28 BPM

GREETING BY CHUCK DAVIS GRIOT: DJIMO KOUYATE THE MEMORIAL "What is Life" by Sister Sadiq Renee King-Malik Lynette White, singer Procession of Elders and Libation Pouring DANCEAFRICA 1993 HONOREES: Dr. Pearl Primus, Chief Bey, Babatunde Olatunji

The Dinizulu African Dancers, Drummers & Singers BAMAYA: A celebration dance from the Dagomba people of northern Ghana. It is characterized by the constant controlled twisting of the waist and hips, symbolizing how the Dagomba will shake off their enemies as they would water. GOMBE: A performance on the square drum. GUMBOOT: A dance done by black South African miners who work in the mines all day and dance to express their feelings. Narration: Amadoma Bedaiko.

The Charles Moore Dance Theatre TE-MA-TE: From the Yacouba tribe of the Western Ivory Coast, this dance celebrates the planting and harvesting of rice, and is considered an anthem to all workers. "Te-ma-te," which means "beautiful," is performed at major occasions during harvest time. Choreography: Madu Niasse.

-INTERMISSION-

ATouch of Folklore and More Dance Theater A TRIBUTE TO THE MOTHERLAND: This is an inspired work which includes dance move­ ments, traditional and choreographed from such dances as Lenjen, Diola (Ekon-Ekon), Marakadon and Mandiani. Our spirits will once again rejuvenate themselves to rise even stronger than before. Therefore, the Creator will give us all we need to continue and "So We Dance. " Choreography: Wilhelmina Taylor

Maimuna Keita School of Dance HAWARE SABAR: Different ethnic groups coming together to celebrate the New Year. This evening's performance closes with the traditional dances of the Wolof and Serere people from Senegal. Conducted by master drummers of the Sa bar Orchestra noted for their intense musical expertise and technical, energized movements. DANCEAFRICA 1993

PROGRAM II DANCE THE AFRICAN. EXPERIENCE Sa t urd a y, Ma y 29 2 PM

GREETING BY CHUCK DAVIS THE MEMORIAL THE COUNCIL OF ELDERS

African Heritage Dancers & Drummers TRADITIONAL DRUM CALL: The skill and dexterity of the drummers calls the initiates to dis­ play themselves before the village Elders and Ancestor Masquerades. KOUYAGA INITIATION SUITE: A ritual dance of celebration honoring initiation from childhood to adulthood. The initiates enter covered to symbolize their purity and innocence, painted with white to indicate their virginity. They unveil and dance energetically to show their life force and readiness for courtship and marriage. Choreography: Melvin Deal

Malaki Ma Kongo HOMBA: This dance is from the north of the Congo. The Ngwena Mbangiu people prepare themselves mentally and physically by sharpening their skills for warfare, hunting and har­ vesting. Choreographers: Andre Patrice M'Bayero and Biza Sompa. BIBOUNDA: The women prepare the main staple, manioc. There is a joy in cooking together, allowing the women to socialize and catch up on the day's events.

Kairaba West Afrikan Dance Company TAN TANG DIOMOUNDO: "The Call of the Drums." Kairaba is pleased to present Master Percussionist Mor Thiam of the Republic of Senegal, West Africa. EKON KON: Th is dance comes from the Casamance region of Senegal. It is the folkloric dance of the Diola ethnic group, accompanied by the Kutiro Drum orchestra. Choreography: Su-Quan Amin Diop, Souleymane Diop & the Company.

-INTERMISSION-

LaRocque Bey Dance Company FANGA-BATAKATO-VODOO: The LaRocque Bey Dance Company continues to keep the spirit of Mr. LaRocque Bey alive by performing the West African dances that have become the trademarks of the dance company: Fanga (the Dance of Welcome from Liberia). Batakato (the Dance of Challenge from Nigeria) and Vodoo (LaRocque Bey's mystique of African and Afrocentric interpretive choreography).

Sabar Ak Ru Afriq Dance Theatre THE WOLLOFF DRUM: In the village of Sara, the drummers gather to give salutation and cele­ bration to the brotherhood of skillful work. Their music draws the rest of the village, who make known their desire to dance. The community is no longer earthbound, and together they share a higher place in the joy of man 's and woman's knowledge of God's gifts to us all. This dance is dedicated to the memory of Lat D'Or and Amadu Bamba . DANCEAFRICA 1993

PROGRAM Ill THE GRIOT'S CORNER Saturday, May 29 SP"M

GREETING THE MEMORIAL THE COUNCIL OF ELDERS

Calabash Dance Theatre CELEBRATION (Take Me to the River for Visions in Peace): A dance based on Yoruba tradition. The theme of this dance is "Adala femi wao ajewakale" (Everything is good with us, and we shall shine forever). The celebration is about giving thanks for life, love, the children, the elders, our ancestors, and a very special thanks for the ability to speak, hear, smell and see. Part Two of the piece tells the story of a mother and her children going to the river to be spiritually cleansed by Osun, the deity of love. Choreography: Ayanna Frederick and Myra Brown.

DanceAfrica Djembe Orchestra & Chakaba APPEL DE TAM TAM

Forces of Nature CULT OF THE WOLVES: The second section of the Ancestral Earths trilogy, this piece explores pre-Columbian contact between Africans and Native Americans, with the story of young African-descended Pochteca warriors being initiated into the cult of the Coytli-Naualt, after undergoing the rite of circumcision performed as a remembrance of their African heritage. The newly reborn young men, by flirting with young women, acknowledge their eligibility based upon the rite of passage. Plate 1: The Cry. Plate II : Drone of an Ancestral Remembrance. Plate Ill: Rites of the Cult. Choreography: Abdel R. Salaam .

-INTERMISSION-

International African Islamic Ballet THE LIGHT SHOW: This dance combines the drama and music of traditional Africa with the expe­ rience of modern African Americans. It includes an explanation of African Culture by a griot, and a performance by an outstanding female illusionist, all done to an exciting array of light. It's a unique presentation of entertainment and education, which we like to call "edutain­ ment."

Kankouran West African Dance Company DIAMONO (ROOTS): DRUM CALL: The drums speak the prayer and request blessings for the dance ceremony to begin. DUNG DUNG BA: Performed in the summer before weekend wrestling matches, this dance exhibits the strength of the men from various villages. The women dance to encourage and support the men. Matches are held on an open field in which the victor drops his opponent to the ground. The dance and rhythm originate among the Mandinko people of Guinea. SABAR: The National Dance of the Wolof people of Senegal. A celebration dance performed at festivals, weddings, baptisms and other social occasions. Choreography: Assane Konte. DANCEAFRICA 1993

PROGRAM IV DEBELE SA KILALA (DEVOTED TO COMMITMENT) Sunday, May 30 3P'M

GREETING BY CHUCK DAVIS GRIOT: BABA ISHANGI THE MEMORIAL COUNCIL OF ELDERS

Chuck Davis Dance Company HOMAGE TO THE ANCESTORS: A dance paying homage to those who came before us, yet stay to look after us. The dance was inspired by Nigerian people's deep belief in respecting their ancestors. Choreography: Chuck Davis and Jackie Coban-Martin.

-INTERMISSION-

DEBELE SA KILALA: The Renewing of Marriage Vows of Ngoma and Normadien Woolbright

Women of the Calabash SONG FOR OUR MOTHERS: In this year of our company's 15th anniversary, Women of the Calabash looks back to our Mothers' African Ancestral voice and journeys through time by sound. A song of voices and calabash, wood and bamboo; a celebration of spirit in homage to all Mothers. We honor you.

Ntores Members of the Ntores, a special elite corp of guardians for the Mwami (king) in the Watussi nation, are considered by many to be among the best dancers on the continent of Africa. Their majestic height and elegant carriage is quite impressive as they stamp upon the hard­ packed earth, keeping perfect step as they dance the valor and benevolence of their king.

Art of Black Dance and Music LIBATION FOR YORUBA LAND: In honor of the Orisha and the Ancestors ofYoruba Land who continue to protect and direct our being, from Africa to the Caribbean and the Americas. Salute to Eleggba, Yemanja, lyansan, Oshun, and Oshumare. Choreography: De Ama Battle. Yoruba Music Consultant: Osunkemi Olosun.

DanceBrazil TENT OF THE MIRACLES: CAPOEIRA: Brazil 's fast and graceful dance/marital arts form. First developed in Brazil by Africans from Angola as a way of escaping from and fighting against slavery. Today capoeira combines dance, music and acrobatic fighting into an art form that expresses the spirit of the Brazilian people. SAMBA DE RODA: A dance of joyous celebra­ tion, and the national dance of Brazil. It is historically prominent in the town of Cachoeira and is danced throughout the year, not just during Carnival. Often young men and women court each other in this effervescent and sensuous dance- the men with their deft footwork and the women through their carefree hip swinging, characteristic of the samba. .. Choreography: Rosangela Silvestre . African American Dance Ensemble MAN DIAN I: From the Bambara people of the old Mali Empire, West Africa, comes this dance of joy and celebration, which allows playful interplay between dancers and musicians. Choreography: Chuck Davis. Musical Arrangement: Khalid Saleem. 2 METROTECH CENTER (100 MYRTLE AVENUE) 718-624-0200

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WILLIAM H. GRANT Ill (lighting designer) has designed lighting for dance, opera and theatre throughout the US, Canada, Europe, Africa, South America, the Caribbean, the Middle East and the former Soviet Union. He has designed extensively for the Milwaukee Repertory Theatre Compa.ny, the Philadelphia Drama Guild, The Alabama Shakespeare Festival, The New Federal Theater, and the Dallas Theatre Center, as well as many other regional and off-Broadway companies. He has designed for 651 (an independent arts presenter affiliat­ ed with BAM) since its inception, and has designed DanceAfrica for the past four years. Mr. Grant has also designed for the Alvin Ailey American Dance Theater and American Ballet Theater, and is resident lighting designer for The Philadelphia Dance Company (Philadanco). He has taught lighting design at the City College of New York and is the author of A Basic Handbook of Stage Lighting. In his spare time, Mr. Grant is an accomplished harpist. NGOMA WOOLBRIGHT (stage manager) is a native of Jacksonville, Florida. He began his theatrical career as a stage manager in 1968 with the Chuck Davis Dance Company, where he ultimately became technical director. Ngoma has worked with several dance companies in and around New York City. Until recently, he was the technical director for the celebrated dance company Forces of Nature. Woolbright's credits include several off-Broadway shows, including Lyon and the Jewel, Frankenstein's Rib, The Greatest of All Times and Muhammed Wait for Me. Presently he is technical director for Alayanfe Dance Company, a North Carolina­ based children's company. Ngoma Woolbright has been stage manager for DanceAfrica since its inception sixteen years ago. NORMADIEN WOOLBRIGHT (assistant stage manager), a graduate of the Performing Arts High School, holds a BA in Dance Education from Lehman College. She has studied with Chuck since her teens. Normadien became the Artistic Director of the Chuck Davis Dance Company when Chuck came to North Carolina. She moved from her home, New York, to Durham, North Carolina, in 1989 and now performs with the African American Dance Ensemble. Norma is the Artistic Director of Alayanfe (The Chosen Ones), found­ ed by Chuck Davis. She remains active in the field of dance through teaching, performing and participation in school residencies.

DanceAfrica 1993 would like to give special thanks to the BAM DanceAfrica family, especially Diana Frazier and Dewonnie Frederick (DanceAfrica Bazaar Coordinators); and to Sweet Pete and The Imperial Bikers, and Gail Johnson and Elsie Crum, Esq.

Mr. Davis' wardrobe by Mr. Oko and the African Islamic Mission. African flags for opening ceremony provided by AAA American Flag. Stage for opening ceremony and honoree plaques provided by the African Islamic Mission. Cake for opening ceremony by Indiana Market and Catering Company. Photography lighting and equipment provided by Lens & Repro. Fiber optic curtain provided by Main Light. Extra sound equipment provided by Pro-Mix. Kente cloth provided by Afrikart. Lasers provided by Sam Ash .

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Con Edisons Education Series is part of To schedule a speaker for your group, our continuing commitment to customer please call (212) 460-6905. services. . Or for your free Consumer Education It offers enlightening programs for groups Catalog, write to us at Con Edison, of all kinds-including tenants, homeowners, Consumer Education, 4 Irving PI., New York, senior citizens, service clubs and business NY 10003. organizations. We've got ways to stimulate everyones You could explore the mind of Thomas Edison. Learn the latest in energy-saving menWener~~ ideas. Or track the development of new energy resources. THE ENERGY OF NEW YORK African Dance as presented on modern stages by African-American companies hails from concepts steeped in ancient traditions. The dances are educational, entertaining and enlightening, due to the fact that dance is not simply dance. Everything has a meaning ...

Three centuries of slavery. Millions of ebony black men, women and children shackled, branded, force-marched and going, going, gone to the four corners of the globe, where rainbow ·• washing stripped the mind but not the blood wherein thousands of years of genetic heritage lay stowed ready for a drum beat to awaken memories of yore. The drums sent rhythms shivering through muscles which screamed Lenjen/Mandiani/lsicathulo/Wamba/Bamaya and thousands of other dances which serve to add strength to our cotton picking and tobacco tying and floor scrubbing and computer programming and executive staff meetings, which build stress that is only relieved by the sound of the per­ cussive rhythms ethnically oriented to send us off into a state of spiritual awareness long thought forgotten.

Dance is life. Life is culture and culture is mankind. Mankind is dance. Dance is understanding. Understanding is aware­ ness that African dance (according to Professor Sam Oyovbaire, Hon. Minister of Information and Culture, Nigeria) express­ es joy, sadness, hope and triumph as it celebrates individual and collective achievements. The activities which permeate our daily life create visual expressions as we Hiphop, Shag, Charleston, Suzy Q and Moonwalk. African Dance is African Dance. African American Dance is homage to The Motherland as we modern Jalais carry the stories of Fanga, Lamban, Wolosodong, Ntore and Kwanzaa throughout this and other lands. The blood of our ancestors, coursing through our veins, pulses with unbridled energy as we sit at the feet of the Elders and receive their· blessings before our feet pound the stages of the world. We are thankful to Sister Edith Enem who reminds us that dance, an instinct as old as man's exis­ tence on earth, falls into eleven different categories: Masquerade, Maidens, War, Acrobatic, Puppet Theater, Vocational, Ritual, Elders, Creative, Social Entertainment and Ceremonial.

Many of the above areas are used interchangeably as we attempt to preserve vestiges of ancient heritages doomed to whiteout as Western Civilization implants the worst of their culture through operations dis­ guised as socially uplifting. Beware of the gift bear­ ers. The lash and the whip are now the computer chip and the fax machine. Dance, however, will surpass even time. African Dance will forever provide the basis for countless jobs and recognition deserved and unde­ served. Remember to render praises to The Motherland, Africa, as we Fanga her, Mandiani her and Drum her into a future beset with .. honesty, truth and love for all.

What do you dance? Why do you dance? Who do you dance? We dance Africa. Yesterday. Today. And tomorrow. We dance Africa. Forever and ever and ever ...... Amen. Amen. Ase. Ase. Ase. by Chuck Davis u arhat • *o • *ance? (Traditional African Dance in Comtemporary Societies) by Mikki Shepard

photo C1987 Jessica Katz e member ... we

::1. a years ago on one very hot, sticky Sunday Moore Dance Theatre, Dinizulu's African Dancers, afternoon in June, Alex Haley stood on the Brooklyn Drummers and Singers and Arthur Hall's Afro­ Academy Music's Opera House stage before a American Dance Company-provided a feast of elab­ "standing room only" audience of over 2,000 people orate and diverse dance styles from Mali, Senegal, and christened the first DanceAfrica! Ghana and Nigeria.

I remember standing in the back of the orchestra In those days, busloads of shoppers craned their with about 100 other people, when an elegantly necks and rubbed their eyes in disbelief at the sight Kente-attired gentleman wiped his sweat-soaked of live elephants and camels parading down Ashland brow and exclaimed, "This is how it must have felt Place carrying young laughing children. on that slaveship 300 years ago!" Of course, who could forget the elegant art of Backstage, tears steamed down the faces of many ~ichard Barclift that graced the brochures and posters dancers, drummers and BAM staff as Mr. Haley, this capturing the essence of the Festival and its partici­ modern day griot, wove a 40 minute tapestry of col­ pants. orful "family" stories into what would soon become the most memorable day in DanceAfrica history! Since then, there have been many DanceAfrica festi­ Although these stories have been read and told by vals, not only in Brooklyn, but also in Pittsburgh, PA, many over the yea ~s , they took on new meaning and Chicago, IL and Durham, NC- each with its own life for the many of us who were fortunate enough to theme and magic. Happily, we've also seen new share in DanceAfrica 1978. companies spring up across the country, many off­ shoots of the first DanceAfrica companies. As the memories linger on, we recall the countless performers and activities that attracted early Sadly, many Dance Africa "family" members have DanceAfrica audiences. moved on to join our ancestors: Nana Yao Opare Dinizulu, Alyo Tolbert, Charles Moore, AI Perryman, Storytellers and stiltwalkers entertained the crowds Balogun, Ray Felix and others. of shoppers at the DanceAfrica bazaar and, indoors, five of this country's leading African American dance But, in the DanceAfrica tradition, we always start off companies-Chuck Davis Dance Company, the the festival by paying homage to these elders -our · International African American Ballet, the Charles ancestors-and look towards the future! • DanceAfrica '93: A Sweet Sixteen Celebration!

Over 400 dancers, drummers, griots and others are preparing for this long-awaited festival. From Harlem to Brooklyn, activities have been planned to bring all of New York City to the party!

The entire BAM area will be transformed into an African village. The activites will begin on Fulton Street, which will come alive and turn into a festival of its own. Boutiques, restaurants and clubs will swing open their doors and join in endless days of celebration.

The DanceAfrica Bazaar will offer a connoisseur's dream of appetizing delights from all over the Caribbean, Africa and Southern parts of the United photo ICI1987 Jessica Katz States: tasty jerk chicken, spicy codfish, buttery johnny cakes, coconut rice and peas, meat patties, roti, sweet plantains, luscious, melt-in-your mouth "' homemade cakes and fresh cool papaya, guava and coconut drinks. I Of course, be prepared to wear your Sunday best! DanceAfrica has never been just a dance festival. It DanceAfrica offers the ultimate fashion show of is a community holiday-a family reunion! A coming contemporary and traditional African and together of people bound by a common history to Afrocentric hair and clothing styles intricately pay homage to their past and celebrate their future. adorned with fine jewels and rare shells. The cre­ DanceAfrica is also an opportunity for those less ativity and richness of styles are only matched by familiar with the culture to join in the festivities and those worn by the performing artists on stage. become a part of the extended family! Starrett at Spring Creek

where harmony is a way of life

Crenadier Realty Corp. Managing Agent of Starrett At Spring Creek II reserve the radition II

A Message from Chuck Davis Artistic Director, DANCEAFRICA

II

:1.8 years ago, at a time when part of DANCEAFRICA, and to do them, there was no large-scale, public forum we need your financial support. Any for African American dance in New York contribution, large or small, will help. City, the Brooklyn Academy of Music inaugurated DANCEAFRICA. Since that A special DANCEAFRICA APPEAL enve­ time, DANCEAFRICA has become an lope has been enclosed in this program annual tradition in Brooklyn, its return eagerly for you to send in your gift. Or, send your contribu­ awaited by the entire community. tion to: DANCEAFRICA APPEAL-Membership Desk, Brooklyn Academy of Music, 30 Lafayette DANCEAFRICA offers us a special way to pay Avenue, Brooklyn, NY 11217. Please make your homage to the African motherland, to teach our check made payable to Brooklyn Academy of Music. children more about the traditions and cultures of For gifts above $50, you will also receive benefits our heritage, and to share this heritage with other which include priority notice of events, invitations to ethnic groups. working rehearsals, plus much more. For more information, call Ms. Cassandra Sherrod at BAM at Over the years, as you may have noticed, many 718-636-4194. sponsors have rallied behind DANCEAFRICA. They have include Con Edison, The National Endowment Your contribution will be exclusively applied to for the Arts, The Harkness Foundations for Dance DANCEAFRICA programming. Your gift will also be plus many more. This year we are pleased to wel­ recognized in a special listing in the DANCEAFRICA come AT&T as a new, major supporter. 1994 program as a member of the DANCEAFRICA COMMUNITY SUPPORT COMMITIEE. Help us to preserve the tradition of DANCEAFRICA at BAM. We know we have your spiritual support, Thank you for your continued dedication. but there are many more things we wish to do as Seated, I to r: Baba Bilal Abdurahman, Mama Rakiah Abdurahman, Papa Scuddie McGee, Mama Sarah McGee, Baba Yomi-Yomi Awolowo, Mama Carole Awolowo. Standing, I tor: Baba Lee Abramson, Mama Jackie Coban-Martin, Mama Lynette White, Mama Francis Jones, Mama Elsie Washington, Baba Mensah Washington

COUNCIL OF ELDERS

PAPA SCUDDIE MCGEE & MAMA SARAH MCGEE Senior Elders

BABA BILAL ABDURAHMAN BABA WILLIAM MATTHEWS MAMA RAKIAH ABDURAHMAN BABA JOE NASH BABA LEE ABRAMSON IMAM OBABA MAMA CAROLE AWOLOWO BABA OLATUNJI BABA YOMI-YOMI AWOLOWO BABA MZEE OYO MAMA LYNETIE WHITE AYERS BABA JOSEPH PLACIDE MAMA BARBARA BEY MAMA PEARL PRIMUS BABA CHIEF BEY BABA JONATHAN ROBINSON BABA WALTER P. BROWN FATHER CARTER MAMA ROBINSON MAMA JACKIE COBAN BABA RUDOLPH ROGERS BABA RICHARD GAY BABA MENSAH WALl MAMA FRANCIS JONES · MAMA ELSIE WASHINGTON BABA ISHANGI DII~O KOUVATE

riots

I ICaba lshangi has over thirty years of experience as a folk­ • lorist, dancer, musician, storyteller and tireless worker in promot­ ing African culture and traditional practices in the US as well as at home in West Africa. Among his many accomplishments, he is Baba lshangi founder, director and choreographer of the lshangi Family African Dancers. He is also Chairman of the Board of the Sankofa African Temple in Brooklyn, and founder of the Sankofa Society in Queens. His performing career has brought him twice before the World Body ofthe United Nations (first in 1965 and again in 1980, when he received the World Peace Medal), and to such stages as the Kennedy Center and the Royal Ontario Museum. He has also travelled to festivals and universities across the country, teaching and being an example of traditional African manhood. He receives love and respect not only from his many children but from all those with whom he comes into contact.

I -jimo Kouyate, born in Dianna, Senegal, is a diali, oral his­ torian and a descendant from the Kouyate family of griots, histori­ ans and musicians who have honored West Africa for centuries. He served the Cultural Ministry of Senegal for twenty years, and was a founding member of the National Dance Company of Senegal. Currently a resident of Washington DC, Kouyate is the co-founder and director of Memory of African Culture, a cultural Djimo Kouyate and educational arts organization, and he is the founder and leader of the ensemble Mamaya African Jazz. Kouyate was recently awarded an Individual Artist's Grant-in-Aid from the DC Commission on the Arts and Humanities, and an NEA Solo Recitalist Fellowship. He performs across the US as a solo artist on the kora, a 21-string instrument of griot tradition. He has taught kora, lectured and performed at universities, museums and cultur­ al festivals across the US and in Africa. Founder and Artistic Director: CHUCK DAVIS Executive Director: 1- PAUL STEPHENS, ED.D. Musical Director: ~ODIBO KEITA Company Manager: BEVERLY B. ~EEK Technical Directors: ELIZABETH GRI~ES & BILL BROWN Artistic Di rector's Assistant: AVA ~CFARLANE-VINSETT Dance Captain : TONI K. HALL Road Manager: NOR~ADIEN GIBSON-WOOLBRIGHT

~~.._merican • •a nee E *nsern61

..... he African American Dance Ensemble seeks Icame to Durham, North Carolina in 1980 at the invi­ to preserve and share the finest traditions of African tation of the American Dance Festival-and it was and African American dance and music through love at first sight. Stages and auditoriums could not research, education and entertainment. With our contain the performances. Chuck Davis, the Festival, motto, II Peace, love, respect for everybody, II we cel­ and the audience generated a synergy; the environ­ ebrate traditional African culture, aesthetics and val­ ment became the stage, and the audience became ues as resources for all people and utilize these the performers. By 1983, there had developed a core1 resources to encourage interracial cooperation, lof local dancers whose proficiency approached that cross-cultural understanding and societal analysis. of the professionals from whom they learned. The The story of The African American Dance Ensemble iAfrican American Dance Ensemble was born, and by begins with Chuck Davis, a native of Raleigh, North 1985 it had taken its place among the other estab­ Carolina, who founded the Chuck Davis Dance lished companies at the American Dance Festival. Ensemble in 1968 in New York City. This company Nobody sits through a performance by the Ensemble without learning from the artists. Aspects of African culture are explained and audience partic­ ipation in the ritual is encouraged. More important­ ly, though, the dance itself becomes the means by which we see something of the human condition: it reinforces the positive, and encourages us to do something about the negatives. The audience members leave a concert feeling at one with them­ selves, the world, and the dancers and musicians who brought it all together.

Dancers: Ivy Burch, Lavender D. Burris, James K. Green, Ill, Toni K. Hall, Medina Keita, Toya Lewis, Teresa Gail Rouse, Ashi Smythe, Musicians: Modibo Keita (Musical Director), Akunda Lumumba, Meshac'h Silas, Erik Smith, Foundel'"and Executive Artistic Director: ~ELVIN PEAL

' frican eritage • •ancers 8i

..... he African Heritage Dancers and Drummers, • based in Washington DC, was founded in 1960 dur­ ing the early Civil Rights and Black Awareness Movement, in an effort to preserve and teach African Americans pride in and a respect for their cultural heritage while providing positive leisure­ time activities for young people and adults alike. understanding of the living African culture via paral­ Employing the African modality of peer develop­ lels of traditional Old World Africa and New World ment with elder guidance, the African Heritage pro­ African American experiences. gram concentrates study and performance efforts on initiation dances and dances that depict similar soci­ The founder of African Heritage, Mr. Melvin Deal, is a etal mores and ethics, such as birth, marriage and veteran artist and researcher for more than thirty harvest celebration. An effort is made to teach an years. His many prestigious awards include the Washingtonian of the Year, 1981; Mayor's Art Award, 1981; Malcolm X Award, 1989; six City Council Proclamations & Resolutions, and many others. Mr. Deal and staff continue to give of themselves tire­ lessly in maintaining this community institution.

Da ncers: Cathy Smith, Cheryl Tatum, Janice Colbert, Janet Washington, Natasha Washington, Lydia LaChapelle, Valencia Barclift, Veronica Resper, LaShonda Smith, Yolanda Dandridge, Sarita Coleman, Melvin Deal, Norman Simmons, Anthony Phillips, Nathaniel Phillips, Kofi Gymerah, Thomas House, Richard Dunston, Derek Rap Hill

Drummers: Robert Myers (lead), Anthony Ashton, Kevin McCutcheon, Lorenzo Brooks, William Caudle, LaMarcus Doffette (drum cap­ tain), Damien Taylor, Malory Moore, Leslie Moore, The Brooklyn Academy of Music and Williamsburgh Savings I

Enhancing the cultural and rmancial lives of Brooklynites from the same block for more than a half century.

~REPUBLIC ~BANKS REPUBLIC NATIONAL BANK OF NEW YORK MANHATTAN SAVINGS BANK WILLIAMSBURGH SAVINGS Division of The Manhattan Savings Bank

MEMBERS FDIC 1 Founder, Artistic Director and Choreographer: D!E A~A BATTLE,~- ED. ' rt of ~lack • •ance

.A..rt of Black Dance and Music, based in The foundation for this company's success is Sommerville, MA, is committed to developing an • continuous knowledge-gathering of the customs understanding of multicultural art forms and tradi­ and cultures of the African Diaspora. Tours to tions through the creative use of the performing Jamaica, Brazil, Senegal, Gambia, Mali and arts. Since its inception in 1975, ABDM's mission across the eastern US have been part of this has been to preserve African-rooted heritage company's growth, providing opportunities for through instruction and performance, and to make performance, cultural exchange and in-depth accessible to the public the cultures of Africa, the research. The gathered information is combined Caribbean, and the Americas. Featured on local, with African American cultural experiences to national and international television and radio I create a full historical perspective. The majority ABDM's programs and performances reach over of the company's repertoire is choreographed by 50,000 people annually. De Ama Battle, an artist, dance historian and educator who has taught and directed programs at colleges across the US and in the Caribbean. Travelling the world to research dance, music and folklore, De Ama is well-known for her com­ mitment to preserving African heritage and pro­ moting positive awareness in the African American community. Among her many honors, she was invited to

Dancers: Janet O'Neal Alleyne, lfe Bolden, Harolyn Bowden, Cynde Crawford, Tahira K.E.W. Guillermo, Jovan Zelete Jones, Karen Marcellus, Kilola Maishya, Noel Staples, Shelia Wilson

Vocals & Percussion: Valerie Stephens, Osunkemi Olosun, Maria Pizarro Founder an d Executive Director: ABIODUN /ltACCRAV Artistic Director: AVANNA FREDERICK Musical Director: OBATIVE SPELLS Dance Director: ROBERT TURNER Business Managers: JOHN WATUSI BRANCH. BODE Artistic Director Ayanna Frederick (dancer, teacher and ala bash .,•--••... ance =:a:=heatre choreographer) and her assistant Robert Turner (dancer, actor, A.fter 19 years of continual hard work and teacher and choreographer) are I never-ending drive, the Calabash Dance Theatre is masters at combining the traditional with the con- alive and very well! The Founder and Executive temporary, creating new and exciting works of art Director Abiodun McCray, who is also a teacher, based on age-old African tradition. But the magi­ musician and lecturer, has travelled to various cal ingredient of Calabash Dance Theatre is the regions in Africa, the Caribbean and South spirit of its members, all moving in the same posi­ America, absorbing the wonderful music, dance, tive direction and believing that anything and art and culture. He has told us of their traditions everything is possible if you have the passion for it. centuries old, and we finally understood why we, our parents, and their parents, did and said certain Calabash Dance Theatre includes the ensemble things, just because ... Visions in Peace, a multi-generational women's percussion ensemble founded and directed by Myrah Brown, a master shekere artist. The shekere, a traditional Yoruba instrument made from a gourd or calabash strung with beads, is used to connect us with our ancestors.

Dancers: Patricia Gittens, Wavenie Best, Barbara Woods, Soaries, Natiki Hope Montano, Delores Sampson, Ayanna Frederick, Roselyn Woods, Robin Ross, Lisa Chapman, June Davidson, Rene Abayomi Goodall, Charmaine, Robert Turner, Lloyd Goodman

Musicians: Joel Berryhill, Obatiye Spells, Rick Williams, Michael Sampson, Kazi Oliver, Abiodun McCray

Visions in Peace: Brenda Adjei, Yasmine Aljuwani, Basanya Babumba, Kutendersa Babumba, Jessica Brown, Enwaniki Charles, Varonica Frye, Adero Green, Ambar Green, Amenawon Green, Assantwa Green, Netchem Hairston, Eshe John, Michelle Johnson, Nkechi Joseph, Sharri Muschette, Monisola Muwusi, lyanna Norris, Shani Rambert, Giovanni Romero, Marguerite St. Clair, Alyna Thompson, Talu Green (Drummer), Vernon Williams (Stage Manager), Shawn Banks (Bell) Artistic Director: ELLA THOI>APSON .#tAOORE Administrative Director: PAllA ltAITCHELL General Maganer: ltAARINAVICARI LYNK Musical Di rector: CHIEF BEY Rehearsal Master: TYRONE .#tAONROE Dance Captain: CAROL LONNIE Lighting Designer: KATHY KAUFI>AAN

• =harles ::zo:::a:::oore ance =:a:=heatre

C » ne of the original DanceAfrica companies, Great Performance Series. The company conducts • The Charles Moore Dance Theatre was founded in frequent lecture-demonstrations and residencies in 1974 by Charles and Ella T. Moore with the purpose the five boroughs, upstate New York and New of divulging and demonstrating the beauty and Jersey. The CMDT repertory includes works by out­ great variety of African, Caribbean and African­ standing choreographers from Africa, the West American culture to the general public. This com­ "Indies, Brazil and the Un ited States. Their newest munity-based organization offers classes and pro­ work, "SPIRIT: A tribute to my friend Charles," was grams for children and adults, emphasizing pride choreographed by Louis Johnson, and premiered in and confidence in one's cultural heritage. A touring a sold-out program entitled "Traces " at BAM in company of international stature, Charles Moore February of 1993. Dance Theatre has received rave reviews in the Caribbean and across the United States, and has Artistic Director Ella Thompson Moore has appeared appeared on "Lifeline to Africa" and Channel 13's on stages around the world with The Alvin Ailey American Dance Theatre, the Geoffrey Holder­ Carmen de Lavallade Company, Walter Nicks Dance r Theatre, Louis Johnson and Company and the Howard Roberts Chorale. In addition to researching i and choreographing for the Charles Moore Dance Theatre, she has choreographed works for All Nations Dance Company, among others. An acknowledged dance expert, Ms. Moore is currently on faculty at Hunter College, LIU and the Charles Moore Center for Ethnic Studies in Brooklyn.

Dancers: Brian Barnes, Leslie Brothers, Jerbean Gilkes, Larry Johnson, Carol Lonnie, Tyrone Monroe, Beverly Moore, Karla McFarlane, Tracey Purvis

Drummers: Chief Bey (Master Drummer), James Cherry, Ron McBee, Willie White I

.. 0 perfect spot for dinner before a concert at BAM Gael Greene The Insatiable Critic New York Magazine LUNCHEON NOON TO 3PM WEEKDAYS .. 0 the best restaurant in Brooklyn New York Press SUPPER

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7PM TO MIDNIGHT .. 0 honors the Mediterranean custom Barbara Costikyan SUNDAY BRUNCH New York Magazine NOON TO 3:30PM

256 5th Avenue 145 WEST BROADWAY Brooklyn, NY TRIBECA, NEW YORK Reservations: 718-230-0711 233-0507 Founder: CHUCK DAVIS Artistic Director: JACQUELINE COBAN-~AR.TIN Assistant Artistic Director: LYNETTE WHITE Costumes by: LINDA EVANS, LINDA CRUZ

huck M •avis • •ance * =ompany

::l:n 1964, the Chuck Davis Dance Company was a small group of dancers and drummers from the Bernice Johnson Dance Studio and neighborhood kids participating in a summer program located at the Burger Junior High School in the South Bronx. By 1968, the company had been Company-In­ Residence for the NYC Board of Education, reaching thousands of children through lecture-demonstra­ tions and mini-concerts, and had begun a residency at the Bronx Community College. With an NEA grant in 1974, they toured the country, and in 1975 appeared on the Richard Pryor Show. CDDC was one of the groups chosen to represent the United States at FESTAC '77, a pan-African cultural event held in Lagos, Nigeria, where Africans and those of African descent met on artistic grc>unds. The com­ pany has also served as official US Ambassadors of Goodwill, touring Italy, Yugoslavia, !\!orway and Greece in 1980.

Dancers: The Chuck Davis Dance Company was one of the Diane Taylor, Patricia McDow, Kevin Rainey, Kavena Coaxum­ original DanceAfrica companies, appearing at BAM Smart, Carole Awolowo, Akinwale Robinson, lmani Kahn, Amparo Santiago, Linda Cruz, Constance Martin, Sandra Fela in 1978. Although the company no longer per­ Wiles, Elsan T. Hasan, Phillip Williams, John Flynn, Karen forms, their vibrant spirit lives on. Some of the origi­ Thornton, Salif Badiane, Lynette White, Jacqueline Coban­ Martin, Denise Ola DeJean, Cheryl Doyle, M.D., Cynthia nal members are now reunited to celebrate the Showard-Humphrey, Caren Marshall, Diarra Lansana, Jewel Sweet Sixteenth Anniversary of DanceAfrica. Love, Linda Evans, Andrea Saunders, Sulaiman Luther Wilson, LeRoy Radcliffe, Nafisa Sherriff, Tara Barnard, Raymond Brown, Charles Thorpes

Percussion: Yomi Yomi Awolowo (Master Drummer), Kwame Bukley, Warren Smith, Freddie D. Rivera, Robert Bass, Kweyao Agyapun, Jalal Sherriff, Abu Shabazz, Madeleine Yayodele Nelson, Robert Bass Negro" in 1985, attracting critical and popular acclaim and establishing the company's unique style. In 1988, PBS Alive from Off Center com­ missioned and premiered "Aurora," by Jelon Artistic Director: Vieira and Nem Brito. Since then the company IELON VIEIRA Associate Artistic Director and Principal Dancer: has continued to tour both in the US and NE~ BRITO abroad. Music Director: CARLOS BRITO DanceBrazil was founded in 1977 by Jelon a nee razil Vieira, who has earned world-wide acclaim as a choreographer and master of capoeira, the .A.frica has given Rumba to Cuba and Jazz and Afro-Brazilian dance/martial art form. Together I Blues to the United States. The most profound and with DanceBrazil member Loremil Machado, Mr. pure examples of Brazil 's African cultural heritage Vieira has been a catalyst in the importation of can be found in the northeastern state of Bahia; it is capoeira and Afro-Brazilian culture in general from these deep traditions that DanceBrazil draws throughout the United States. His choreo­ inspiration. The unique choreographic style of graphic credits include the feature films DanceBrazil blends the Afro-Brazilian dance and Rooftops and Boomerang, and he has taught at music traditions, such a capoeira, samba and can­ the Dance Theatre of Harlem, the Alvin Ailey domble, with North American modern dance, draw­ American Dance Center and Yale University, ing upon links that exist between two distinct cultur­ and continues to teach at his own school, al phenomenon-links that inspired the early pio­ Grupo de Capoeira Ogun, in New York. A neers of modern dance such as Martha Graham and recipient of numerous arts fellowships, Mr. Katherine Dunham. DanceBrazil premiered "Orfeo Vieira has also served as a consultant to National Geographic, facilitating research in remote areas of Brazil, and was himself the sub­ ject of a documentary by filmmaker Warrington Hudlin. In 1993 DanceBrazil will premiere " Pivete," choreographed by Jelon Vieira, which will address the lives, struggles and hopes of street children in Brazil.

Dancers: Rosangela Silvestre, Nem Brito, Loremil Machado, Jair Humberto Mansur Michael B. Martin, David Moreno, Katia Rios, Stacey Rivers, Robin Williams

Musicians: Carlos Brito, Marivaldo Pereira, Davi S. Vieira

DanceBrazil receives funding from the NEA, NYSCA, the Rockefeller Foundation, Mary Flagler Cary Charitable Trust, the Jerome Foundat ion, Metropolitan Life Foundtion, Joyce Mertz-Gilmore Foundation, Arts International, American Airlines, TransBrazil Ai rl ines, Sa ra & Jack Burke, Lawrence A Mauerman & Associates; Jonathan Rice, and the Friends of The Capoeira Foundation. Executive Director: ALICE DINIZULU Artistic Director: ESI-AVISI DINIZULU Dance Captain: ADZUA D. OPARE Lighting Design: VAO ODU,.,.

• *inizulu frican • •ancers, M •rummers & Gingers

..... The Dinizulu African Dancers, Drummers and New York City World's Fair African Pavilion, Singers, founded by the late Nana Yao Opare Cooper Union, Delacorte Theatre, Lincoln Dinizulu over four decades ago, has introduced Center's Out of Doors Festival, the Museum of thousands to traditional African cultures and dance. Natural History, Brooklyn Museum's Live Concert Along with Aims of Modzawe, the cultural organiza­ Series and Riverside Church Dance Theatre. tion also founded by Nana Yao Opare Dinizulu, the company has been a consistent representative of The Dinizulu African Dancers, Drummers and traditional African standards in presentation of tradi­ Singers are pleased and honored to participate tional dances and music of Africa. The Dinizulu in the 16th Annual DanceAfrica. We extend a company has appeared throughout the US and heartfelt MEDAWASE (thank you) to the Artistic Caribbean and at such well-known locations as the Director, Chuck Davis, for his dedication, imagi­ nation, and innovation which are largely respon­ sible for the acclaim that DanceAfrica has main­ tained over the years. We also thank BAM for hosting these programs for the past 16 years, along with the sponsors, the DanceAfrica com­ mittee, and the numerous African and African American dance companies, and for their con­ tributions to the perpetuation of African dance within our community.

Dancers: Esi-Ayisi Dinizulu, Adzua D. Opare, Okomfo Nyo, Yaa Yaa Kumi, Abena S. Nkromah, Yao Opare, Yao Brima, Kwabena Nkromah, Kofi Opoku, Abena Dinizulu, Yaa Yaa Akoto, Kwame Opare, Adzua B. Opare, Kwesi Asante

Musicians: Nana Kimati Dinizulu, Mensa Dente, Yao Dinizulu, Yao Ababio, Akua Duku Anokye, Kofi Osei Ababio, Kwame Opare, Asante Bediako

Narration: Amadoma Bedaiko Executive/ Artistic Director & Choreographer: ABDEL R.. SALAA~ Associate Executive Director & Manager: 'DELE HUSBANDS

:lEI & orces of Nature continues to explore the his­ week television series in Nigeria, and had the honor I tory, myths and accomplishments of the African of leading the procession of Nelson Mandela to City Diaspora through dance, music and choreodrama. Hall on his visit in 1990. Founded in 1982 by Abdel R. Salaam, the company is currently in residence at the Cathedral of Saint Mr. Salaam's current work is an exploration of the John the Divine, and has had the privilege of repre­ pre-Columbian contact between African people and senting the US at the 12th World Festival for Youth the indigenous Central Americans in medieval and Peace in Moscow, where they engaged in a Mexico. Based on historical research, Mr. Salaam's special cultural exchange with the Bolshoi Ballet. work portrays a fusion between the Pochteca (often The company has also performed at festivals across depicted as black-skinned, and considered by the the US, and in Mexico. Among many other accom­ Aztecs to be recently-settled foreigners) and the plishments, Forces of Nature was featured in a 13- Native American Amenteca. The Amenteca used elements of Pochteca culture in developing the reli­ gion of the coyote medicine men, which closely ·resembled a religion practiced on the savannahs of ancient Mali. Mr. Salaam wishes to thank his elders 'and ancestors for continued guidance and inspira-

tion, and II Papa II Chuck Davis for sharing his vision that continues to bring us together each and every

Dancers Dyane Harvey Salaam, Karen Thornton, Sheryl Pollard Thomas, Patricia Dye, Eugene Niles, Dina Wright, Somani Benns, Johari Mayfield, Laneice Mobley, Keiko Tanobe, Esther Grant, Fritzlynn Hector, Habibbah Ali, Nyree Brown, Hisham Tawfiq, Tyrone Thomas, Latoya Wigfall, Jason Cade*, Alicia Rosado* Munir*, Freddy Ayinde Rivera*, Phillip Williamson, Abu Shabazz*, Bradley Simmons* *Special Guest

These performances are made possible, in part, by grants from NYSCA and the NEA Special thanks to David Bluewolf Chavez, Rosa Brito and Han nibal Ahmed. Founder and Executive Producer: AL I~A~ OBABA Artistic Director: KIBIBI ~UHA~~AD

:::Enternational

A-frican Ballet is a form of "edutainment" and One of the most intriguing aspects of our produc­ ageless storytelling dance. For thousands of years, ;tions is the element of illusion. Our cast not only the continent of Africa told its history through drama includes close to 35 men, women and children (ages and music. We have combined both to show some ranging from 1 to 41 ), but also an outstanding danc- of the beautiful cultures of Mother Africa as well as 1ing female illusionist. It will amaze the audience to the experience of the African Americans. Because ;see the combination of traditional dance, history and of the advanced technological society we live in a touch of illusion, all done to an exciting array of today, we have incorporated technology together light. It's a unique presentation of entertainment with history to bring to you what we call "The Light .and education: we like to call it "edutainment." Show." It includes an explanation of African Culture by a live griot, with a back drop of New Age Music. Within The International African Islamic Ballet, we have our younger troupe, The Nubian Children's Ballet. These dynamic young performers are under .the direction of Sister Yemaya Muhammad.

,Drummers Abdullahi Muhammadu, Asadallah Muhammadu, Agaja ' Muhammadu, Ahmadu Muhammadu, Kotoko Muhammadu, Yaka Muhammadu, Jirkita Muhammadu, Wallahi Muhammadu,

1Gregory lnce, Gene Osborne, Olukose Wiles, Kush Muhammad, Oswald Simmons 1 oancers 10diya Muhammad, Yemaya Muhammad, Naima Muhammadu, Nzingah Muhammadu, Adashima Muhammadu, Afalalu IMuhammadu, Saduda Muhammadu, Ndambi Muhammadu, Warda Jones Muhammad, Taquiyya Jones Muhammad, Hudain 1Muhammad, Alexandria Guillopo, Courtney Zinerman, Zaynab Hamin, Haja Hamin, Naiymah Hamin, Kadiyjah Hamin, lfetayo Muhammadu, Zaraya Muhammadu, Safiya Muhammadu, Marla Jones, Tajh Muhammad

Backstage f·H,,nivf:o Muhammadu, Jamilla Etiene, Hajia Kalila, Michele Guillopo, Imam Obaba, Amir Adam, Amir Latif, Ishmael Muhammad, Kahliymah Hamin, Salim Muhammad Director: SOULEV~ANE DIOP Artistic Directors: SU-QUAN A~IN DIOP AND ABASS BADII Costume Designer: SU-QUAN A~IN DIOP

airaba W &r'"est frikan • •ance y

11 JI'E.airaba 11 is a Mandinko word that means Souleymane Diop, the company's Director, is a 11 Great Peace. 11 This 11 Folklorique 11 company, creat­ native Mandinko of Toubacouta, Senegal, and a ed in 1983 by Souleymane Diop and Su -Ouan Amin Master Drummer of the Kutiro drum orchestra. Diop, focuses on the Old Malian Empire, with the Mr. Diop came to the U.S. in 1979 from the purpose of providing quality African theater and Ballet National du Senegal, where he had been preserving traditional West African dances for the a Master Artist for more than eight years. Since entertainment and education of its audiences. The then he has taught at universities and African artists, bound together by their common African dance companies across the country. Su-Ouan ancestry, come from all backgrounds: Senegal and Amin Diop, the Artistic Director, is an interna­ Ghana, Panama, Trinidad, Jamaica and the US. tionally recognized costume designer and a Kairaba is a family reunion of children adopted by principal costume designer for many other countries. DanceAfrica companies.

Kairaba is a visit to West Africa. The dancers pro­ pel you into the lives of the Diolas, Bambaras, Mandinkos ... They bring to you the beauty and pageantry of ancient traditions, which lift the veil of ignorance so that all people can love who they are and where they come from, and be proud of their roots and themselves.

Dancers: Ama Fruster, Kibibi Zawadi, Beverly Rouget, Sakina O'Huru, Nafisa Sharriff, Robin Gee, Adunni Clarke, Carol Johnson, LeRoy Radcliffe, Mamadi Keita, Mark Waymmann, Melvin Fogle, Lakai Worrell, Glenn Gittens, Njemile Haynes, Majida Sharriff, Asim O'Huru

Musicians: Cheick Yakhoub Diop, Ayanda Clarke, Abayneh 'Chambers, Jalal Sharriff, 11 Djeli" Saliou Suso (Master Kora Player), Neil Clarke

Special Guest Artist: MorThiam Artistic Director: ASSANE ICONTE Assistant Director: ABDOU ICOUNTA Musical Director: #AEDOUNEVACINE C::.UEVE

n uran ~-.:...... :frican • •ance ~rnpa

::l:n the Mandingo cultural group of Senegal, the spirit KanKouran emerges as a guide during the cel­ ebration of initiation, when young boys cross over to manhood. The spirit teaches them the way of life. This spirit lives on through KanKouran West African Dance Company. Founded in 1983 by Assane Konte and Abdou Kounta, both of Senegal, the company is a permanent part of the Institute for the Study of African Culture, and is dedicated to pre­ serving and sharing the culture of Africa. KanKouran works closely with the Education Department of the Kennedy Center for the Performing Arts, performing coast to coast as one of its national touring compa­ nies. On a local level, KanKouran has enjoyed over­ whelming support and recognition for their perfor­ mances throughout the DC area.

Mr. Konte, who began his dance training at age 12, studied traditional African dance with many promi­ nent African dancers and musicians throughout West Africa-in Gambia, Guinea, Mali, the Ivory Coast, Togo, and, of course, Senegal. At 15 he Dancers began dancing professionally with the Ballet Mwangaza Bandele, Paula Coleman, Antionette Connell, Africaine de Diebel Guee in Dakar, Senegal. He Randee Lynn Grant, Bayinah Harrington, Veronica Hunter, Wilhelmina Joseph, KanKou Keita, Marge Lawrence, Sharrone came to the US in the late '70s to pursue a career as Mitchell , Ateya Ball-Johnson, Sue Ann Forde, Kwame Densu, a performing artist, and founded the KanKouran William Harcum, Greg Morrison, Anderson Padmore, Floyd Sullivan, Kevin, Whitney, Tyehimba McCollough, Arshad West African Dance Company in 1983. Middleton, Bruce Thornton

Musicians Ray Charles, Margaret Davis, Steve Hanif McAlister, Fahamme Sentwali, Jahi Bem Sherard, Gimbu Bandele, Mwandishi Johnson, Joseph Soh Ngwa, Mwata Sentwali, Terrence Thomas ABBit lANt, D.D.S.

AIKEN GROUP TOURS Specializing in tours to Africa and the Caribbean. ONE PLAZA DENTAL ASSOCIATES •Dr. Ben's Alkebulan Educational Tours to ONE PLAZA STREET Egypt (July/ August). SUITE 1A •Special 9·Day package to Ghana. BROOKLYN, NY 11217 •Africa: Senegal, Cote d'lvoire, Ghana, Kenya, Togo and Mali •Caribbean: Jamaica, Trinidad, Barbados, St. Martin, Aruba and Grenada.

We Offer Lowest Airfares. (718) 399-0100 Call for information 718-856-9100 - Africa 718-462-2500 - Caribbean

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TEL: (718) 335-0035 FAX: (718) 651-6420

95- I 6 Astoria Boulevard, East Elmhurst, Queens, NY 11369 Artistic and Executive Director: LUTHER FONTAINE

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• .&.he LaRocque Bey Dance Company was founded by Harlem's Godfather of Dance, the late great Mr. LaRocque Bey. The company has been in existence for over 30 years, and continues the tradi­ tion of African dancing and drumming that Mr. Bey rrent director Luther Fontaine, appointed in 199 , initiated. During his illustrious career, LaRocque is a da cer and choreographer with numerous thrilled audiences around the world. He choreo­ Broa way and film credits as a featured dancer. A graphed and performed with the legendary ... ,...,...... ,r student f LaRocque }ley, Mr. Fontaine be an Josephine Baker at Carnegie Hall and at the Loew's ng at tbe LaRocque Bey School of Dance Theater during her final US tour. He also appeared in 1969. He also studied at Weist-Barron, with Eartha Kitt and Aretha Franklin at the Apollo Henry Letang and Frank Hatchett, and at tHe Theatre. He studied with Katherine Dunham, Syvilla . New York School of Ba et, Under his leadership, the Fort, Pearl Primus and Percival Borde, and contin- LaRocque Bey Dance Company continues to excite iences young and old with tbe same fiery spirit its found r. ,

Dancers: Aisha Hawkins, Tarkeema Lewis, Janice Tillery, Donna Mendez, Malynthia Spaights, Eunice Reese, Chris Snead, Chiniqua Reinaldo, Yvette Barrows, Vanessa Exhem, Jerome Hunter, Luther Fontaine, Jasmin Mendez, Taki Hall, Lakisha Adams, Cyrennah Johnson, Tamika Burrows, Tiffany Burrows, Tina Davis, Tiffany Thomas

Musicians: Arthur Maddox, Tony Harris, Gene Osborne, Abdul Hawkins Hutson, Jerome Hunter COURTESY TIFFANY & CO. Jack and Lewis Rudin are proud to present to the winner of the NEW YORK CITY MARATHON Sunday, November 14, 1993

The Samuel Rudin Trophy in memory of their beloved father, a long distance runner for the Pastime Athletic Club in the Bronx between 1917 and 1923 The presentation ceremony will take place at the finish line near Tavern on the Green on West 67th Street in Central Park at approximately 1 PM.

SAMUEL RUDIN (1896-1975) An avid long distance runner and civic leader, Samuel Rudin rose from humble beginnings on New York's Lower East Side to become one of New York's major builders and owners of real estate. Rudin joined the Pastime Athletic Glub in the Bronx in 1917 while a student at City College and competed in long dis­ tance races as a member of the club through 1923. In 1925, he founded the Rudin Management Company, a real estate firm which presently owns and manages 22 multi-story apartment houses and 14 office buildings in Manhattan. The Rudin family has been involved in many philanthropic activities including hundreds of medical and nursing scholarships. Samuel Rudin was also active in the Un~ed Jewish Appeal, Federation of Jew­ ish Philanthropies, City College Fund and Boy Scouts of America. In 1967, he was awarded an honorary Doctor of Laws degree by lona College of New Rochelle, New York. Artistic Director: ~ARIE BASSE WILES Musical Director: OLUKOSE WILES

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singers and stiltwalkers offering a faithful and exotic performance of African art and customs. This authentic ritual of African life presents not only an enjoyable evening but contributes to the cultural knowledge and awareness of all who participate. The company's goal is to restore a sense of dignity and pride in the African American through aware­ ness of African dance and drumming, culture and religion. The school, which boasts a membership of 86 adults and 36 children, offers African dance instruction, performances and periodic educational trips to Dakar, Senegal for an intensive two-week program of dance instruction and cultural discovery.

Organized in 1983 by co-founders Marie Basse­ Wiles and Olukose Wiles, the group is named in honor of Marie's maternal grandmother. Born in Dakar, Marie performed during the '60s and '70s throughout Senegal and around the world with sev­ eral Senegalese dance companies, including eleven years with the National Ballet of Senegal. She met Queens native Anthony Olukose Wiles, a master drummer and stilt walker, while performing with a

West African dance company at the 1982 opening Dancers: of Epcot Center. They were married in Dakar the Marie Basse Wiles, Ayoka Wiles, Ayele Wiles, Cayenne Bates, Marie Pierre, Pat Smith, Chemisa Alton following year. The Maimuna Keita School of Michelle Larkins, Karen Miles, Carol Campbell, Ghizamboule African Dance has performed at colleges and festi­ Price, Denean Stephens, Amadou Boyle N'diaye vals throughout the eastern US and in Senegal. Musicians: Ivan Haywood, Michael Norwood, Olukose Wiles, Mar Gueye, Margaurette Fall, Fred Davis Artistic Director: THELAI\.A AI\.ARTIN

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JE 1n the Lari language, 11 Malaki Ma Kongoll Nwaka people of northern Congo, the Beteke I means II Big Feast of the Congo. II In Congo­ people of the central African region and the Brazzaville, all events are cause for celebration, and Baluba people of northern Zaire, to give our vary in size according to their importance. Malaki is audiences an authentic representation of this the largest and most important feast, usually lasting region. four to five days. We have chosen the name Malaki Ma Kongo because we would like to share the rich­ Founded in 1972 as Tanawa Dance Company ness of Congolese culture through its songs, dances by Titos Sompa (a native of Congo-Brazzaville), and chants. The Congo, in central Africa, is populat­ the company now exists as Malaki Ma Kongo ed by many ethnic groups whose territories extend under the artistic d irection of Thelma Martin, beyond the Congo and into the surrounding coun­ while retaining its original goals: to bring home tries. Malaki Ma Kongo draws on the traditions of to African American people their heritage, and the Bakongo people of southern Congo, the Banda to recreate African culture for all who wish to deepen their understanding of it. The company acheives these goals by conducting classes in Congolese drumming and dancing, and by per­ forming at colleges, universities and cultural fes­ tivals throughout the metropolitan area and around the country.

Dancers: Sharon Dean, Wilhelmena Taylor, Regina Martino, Anna Wilson, Andre Patrice M'Bayero, Nathaniel Crowell, Anita Peterson, Aamshep Beale, Michelle Adams, Ya Ya Bandele, Olaifa, Thelma Martin

Musicians: Costes Massamba, Enel Flagg, Aquah Tcherbu Beale, James Cherry Director: JONATHAN ROBINSON II

• •ancers

majestic height and elegant carriage is quite impre­ sive as they stamp upon the hard-packed earth, keeping perfect step as they dance the valor and benevolence of their king.

Dancers: Jonathan Robinson II , John Frank Thomas, Jonathan Robinson Ill , Olubade Carter, John Farrell Wardrobe Staff: Joan Robinson, Leola Robinson, Ellison Robinson the excelsior hotel (212) 362-9200 1-Soo-464-o 191

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33 W. 17 St. N.Y.C . 10011 (212)6 7 5-1900, (212)989-50 18 (fax) Mon.-Fri. 8:30am-5:30pm Executive/ Artistic Director: OBARA WALl RAHJ'tAAN-NDIA'VE Associate Director ANDAR KOUJ'tABA RA.HJ'tAAN-NDIA'VE

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II & abar Ak Ru Afriq Dance Theatre's works are Saxman" King, Mr. Rahman-Ndiaye has several I based on life's experiences, rites of passage, fertility, recording credits and has appeared on television and and ancient healing ceremonies of Senegal, Gambia, radio in America, Africa.and Japan. In 1973 Obara Old Mali, and African American visions of yesterday, Wali founded The Drum and Spirit of Africa Society, today and tomorrow. As Sabar Dance Theatre introducing Senegambian traditional music to approaches its thirteenth year, it remains a paceset­ America. During the '70s he was music director for ter of quality and originality in the presentation of many of Edgar White's plays. He was also the mas­ traditions and customs handed down to us through ter flutist for Ladji Camara. Obara Wali's own play, the years. The Crossroads Traveller, was produced by BAM for the '79 DanceAfrica Festival. Mr. Rahman-Ndiaye Director Obara Wali Rahman-Ndiaye is a musician, has been initiated as Master Drummer for the Shrine choreographer, playwright, folklorist, program con­ of Maam Samba Ndoye here in the US, and has ded­ sultant and educator. Son of jazz musician AI "The icated his career to professional excellence, peace, love, hope and service to our communities at home and abroad. Associate Director Andara Koumba Rahman-Ndiaye, a dancer, singer, choreographer and dance instructor with over 20 years of experience, is a native of Carriaco, Grenada, West Indies-an island where the roots, folklore and traditions of the inhabi­ tants have been maintained to this day. She hopes to continue the legacy of her aunt Dr. Pearl Primus, one of the great pioneers of ethnic dance in America.

Dancers Ayele Nkromah Bandele, Zucan Abiola Bandele, Aissatou Bey­ Grecia, Karim Braithwaite, Donna Ashe-Carnegie, Charlene Chiku Carroll, Ayangbemi Edwards, Lindsey Floyd, Marcia Ethel Heard, Claude Lateef Jones, Yewande "Norma" Darade, Mamadi Keita, Norma Sahu Maupins, Lee "Marieme" Priestly, Kwame Ross, Nancy H. Smith, Oba-Ta-lye Spell, Rick Williams, Meri Abut Mut-N-Mut (Wardrobe Mistress) Artistic Director/ Choreographer: WI LH EL~INA TAYLOR

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II liE' &ounded in 1982 by Wilhelmina Taylor, A "The Creator has given gifts to us All" Touch of Folklore and More Dance Theater was orig­ When one loves what one does inally conceived as a means of educating and pro­ The love shines out from within viding cultural insights for young people. It is When the spirit and heart are clean So shall we all thrive- Ase- required that the young people who participate must also excel in school. The company has per­ formed across the East Coast, including Black Expos in Philadelphia, Atlanta and Washington DC, as well as colleges and universities throughout the tri-state area. Ms. Taylor has been a dancer, teacher and choreographer for over 25 years.

Dancers Eladia Bennett (Co-Dance Capt.), Michelle Davis (Dance Capt.), Nzinga Ewadi, Asia Goodwyn, Aysha Livingston, Theonia Myrie, Inez Norman, Shavon Norris, Paula Reid, Dennon Scott, Kherra Taylor, Dawn Thomas, Kybosha Walker, Vera Clarke , Linda Crews, Jewel Love, Diane Scott , Diana Taylor, Fleuretta Waltrous

Musicians Philip "Spanky" Williamson, Freddie Natsaka, Diana Taylor, Abu Daniels COMPUTER AFTER SCHOOL AND STUDIES SUMMER PROGRAMS

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KEUR N'DEYE (718) 857-2532 (718) 857-2538 Senegalese Traditional Home Cooking Fax: (718) 857-2944

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737 Fulton Street Bet. South Elliot. & South Portland Brooklyn, NY 11217

Thomas B. Keller Phone: (718) 875-4937 President WE DO CATERING Artistic Director: 1¥\.ADELEINE VAVODELE NELSON

.A. s artists we reach for our highest place of heart, mind, body and spirit to celebrate the legacy we have been given. It is a legacy of innovation, invention and improvisation as well as tradition. It is a legacy of the first song ever sung, the first voice ever lifted in praise. Women of the Calabash cele­ brates a rich cultural heritage through rhythm and song, honoring the ancestors while making a strong commitment to the future. For Women of the Calabash, music is a continuum that moves across boundaries of styles and instrumentation to give unity and context to the African American experi­ ence.

Founded fifteen years ago by Artistic Director Madeleine Yayodele Nelson, Women of the Calabash has brought their unique sound to stages around the world, including the British Isles, Europe, South America, the Carribean, West Africa, and across the US .

Musicians Natalie Ransom, Phyllis Bethel, Marsha Perry, Madeleine Yayodele Nelson MICHAEL ZWACK January A FAVORITE OF THE CULTURAL ELITE! ROBERT LA COLOMBE d'OR CUMMING February Cafe Restaurant Provenc;;al

26th Street just east of I Lexington Avenue KEVIN Tel: 689-0666 LARMON March

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578 Broadway New York 10012 212 226 3200 OLORI WILES

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II .A.t the age of 24, Olori Wiles has already been a stiltwalker for over a decade, learning from master drummer and stiltwalker Olukose Wiles. Olori cur­ rently performs as a member of the stiltwalker group MFOA (Messages From Our An­ cestors), which has performed with several local African dance com­ panies, and at many colleges and cultural festivals both in New York City and across the eastern US, from Atlanta, Georgia to Dayton, Ohio. With Maimuna Keita School of African Dance, founded by his parents, Mr. Wiles travelled to Dakar, Senegal, where he per­ formed and studied African dance. He is also a lib­ eral arts student at New York Technical College. Founder and Director: BRADLEY SI~~ONS

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Never Jam Today, and The Ups and Downs of II ...a_IEI*I - ra dl ey s·1m mons, w h o f oun d e d t h.IS ensem- ble last summer, is also Musical Director for Theophilous Maitland. He has also appeared DanceAfrica and a long-time friend of Artistic on television on shows such as The Mike Director Chuck Davis. Mr. Simmons teaches at the Douglas Show and The Cerebral Palsy Telethon LaRocque Bey School of Dance, and has taught per­ hosted by John Ritter, and recorded with the cussion throughout the US in colleges such as Fatback Band and Norman Connors. Bradley Berkeley School of Music and Texas Southern directed his own Percussion Ensemble at the University. Mr. Simmon's appearances on Broadway National Black Arts Festival 1990 in Atlanta, and include Timbuktu, starring Eartha Kitt and Melba has appeared in nightclubs with Eartha Kitt, Moore, Billy Wilson's version of Guys and Dolls with Gregory and Maurice Hines, Miles Jaye and Robert Guillume, and Reggae with Calvin Lockhart Oba Babatunde. and Philip Michael Thomas. Off-Broadway shows include Nightclub Confidential, Vennette Carroll's For DanceAfrica 1993, the company will per­ form 11 Appel de Tam Tam, 11 which they pre­ miered last summer at the enstoolment of Kimati Dinizulu. Bradley wishes to dedicate his performance in DanceAfrica 1993 to the memo­ ry of his mother Beatrice Simmons and his father Horace Simmons.

Musicians Bradley Simmons, Gene Osborne, Arthur Maddox, Oswald Simmond, Gregory lnce, Vernon Brandon Bey :K»ay of :.:»a nee !Symposium Monday, May 31, 1993

Sam REGISTRATION BAM Lobby 8:30am WARM-UP CLASS Chuck Davis BAM Lepercq Space 1 Oam PANEL DISCUSSION: "The Aesthetics of the African Dance Movement" Moderators: Joseph Melillo, Producing Director, BAM, and Charmaine Jefferson, Executive Director, Dance Theatre of Harlem Lenwood Sloan, National Endowment for the Arts Niamani Mutima, African American Institute Joe Nash, Critic C.K. Ganyo, Arizona State University Kariamu Welsh-Asante, Temple University BAM Carey Playhouse 12 noon MASTERCLASSES "Working with Children" Julio Leitao, Artistic Director, Batoto Yetu BAM Lepercq Space "Senegambia Traditions" Marie Basse Wiles, Artistic Director, Maimuna Keita School of Dance BAM Dance Studio

1:30pm Lunch at the Bazaar

3pm WORKSHOPS "Effective Marketing and Administration Techniques" Donna Walker-Collins, Director of Marketing, Dance Theatre of Harlem BAM Conference Room "Booking the Company and Presenting Issues" Beverly Meeks, Company Manager, African American Dance Ensemble · BAM Attic Theater "Healing and the Holistic" Akil Hanif, Author 4pm MASTE RCLASS C.K. Ganyo BAM Lepercq Space BROOKLYN ACADEMY OF MUSIC BOARD OF DIRECTORS AND STAFF

Chairman I. Marylin B. Levitt Stanley Kriegel• Brendan J. Dugan *Executive Committee Arnold J. Eckelman Eugene H. Luntey Bruce C. Ratner Franklin R. Weissberg• Mem ber II Members Chaim Edelstein Laurie Mallet President Bettina Bancroft* Mallory Factor Charles W. Merideth Honorary Trustees Harvey Lichtenstein Jenne K. Britell Ronald E. Feiner Martin F. Mertz Seth Faison Norman J. Buchan Alan H. Fishman• John Morning Leonard Garment Chairman of the Kevin Burke Robert L. Forbes Jonathan Newcomb Paul Lepercq Executive Committee William I. Campbell Michael Fuchs Evelyn Ortner Ame Vennema Frederick B. Henry Joanne Leonhardt Robert M. Johnson David L. Ramsay Cassullo Sidney Kantor Jonathan F.P. Rose Ex-Officio Vice Chairmen Henry Christensen, Ill Stanley H. Kaplan Robert C. Rosenberg• Hon. David N. Dinkins Neil D. Chrisman• Beth Rudin DeWoody• Andrew K. Klink Mikki Shepard Hon. Howard Golden Rita Hillman• Charles M. Diker Edgar A. Lampert• Vaughn C. Williams Hon. Luis R. Cancel

EXECUTIVE AND PROGRAM STAFF Derek Shears, Assistant Parking Lot MANAGEM ENT INFORMATION David Dean, Membership Manager Supervisor SYSTEMS Cassandra Sherrod, Harvey Lichtenstein, Brett Wood, Crew Chief Ranald T. Adams, Director of MIS Membership Assistant President& lsmael Colon Afshin Afshar, Systems Manager Tandra Bowser, Office Assistant Executive Producer Kevin Coyne Sponsorship & Special Events Karen Brooks Hopkins, Yasmina Garcia MARKETING AND Tambra Lee Dillon, Executive Vice President Charles Jiggets PROMOTION Sponsorship Director Joseph V. Melillo, Kendell Lewis Marketing Lynn Stirrup, Producing Director Lewis Paddyfoot Catrina Logan Soisson, Special Events Manager Robert Bennett, General Manager Eric S. Portalin Director of Marketing Scott A. Watson, David E. Kleiser, Vice President for Amaro Reynaldo Diana Robinson Frazier, Development Assistant Finance and Administration Thomas Rock Marketing Manager Carol Cornman, Special Events Rick Thompson, Vice President for Rawl Scott Mitchell Figaredo, Audience Assistant Marketing and Promotion Michael Soto Develpment Director Development Interns Kevin Young Susan Levy, Director, Group Sales Gary Himes ADMINISTRATION Oewonnie Frederick, Receptionist Minako Naito Elizabeth A. Sharp, FINANCE & Marketing Assistant Mona Heinze Personnel Manager Judith L. Stevens, Director of Advertising Sales Gertrude S. Boothe, Receptionist & Accounting and Finance Paul G. Wasmund, Director Livet Reichard Company, Inc. Administrative Assistant Peter Gee, Budget Manager Walter Hewett, Associate Director Special Consultant, Anne Livet Serafin Castro, Mail Clerk Natalie Baptista, Payroll Manager Publications & Design Cynthia Smith, Tonya Cobb, Accounts Sean R. Keepers, PR ESI DENT'S OFF ICE Administrative Assistant Receivable Administrator Publications Associate Pamela Mosley, Claudette Griffith, Henry C. Blazer, Executive Secretary BOX OFFICE Accounting Manager Senior Graphic Designer LimorTomer Ellen 0. Anderson, Treasurer Steven Smith, Accounts Jon Crow, Assistant to the President Karen M. Winer, Payable Clerk Graphic Designer First Assistant Treasurer Publicity & Public Relations PROGRAMMI NG Pat Durand , Assistant Treasurer GENERAL MANAGEMENT & PRO- Peter B. Carzasty, Director Leslie Findlen, Leslie Scharf, Assistant Treasurer DUCT/ON William Murray, Programming Coordinator Marsha Rosenberg, General Management Senior Press Representative Angela Gardner, Assistant Treasurer Lynn Moffat, Associate De Wayne Snype, Press Assistant Administrative Assistant General Manager Subscription & Ticket Services BUILDING MANAGEMENT Mary E. Reilly, Company Manager Lyndon Zincke, PUBLIC AFFAIRS Norman A. MacArthur, Robert Marlin, Fiscal Coordinator Director of Ticket Services Kya Tention, Building Manager/Capital Karin Wolman, Cathie-Ann Daniel, Public Affairs Assistant Projects Manager Administrative Assistant Assistant Director Jack Dobson, Assistant Andrew Wagner, Rentals Manager Gloria Hodgson, TELEMARKETING AN D Building Manager Theater Management Subscription Supervisor TELEFUN DRAIS IN G Ivan Reyes, Assistant to Bob Riordan, Theater Manager Trevor David, Calvin B. Holland, Director of Building Manager Christine McElroy Gruder, Subscription Assistant Telemarketing and Ken Rinker, Associate Theater Manager David Silva, Telefundraising Construction Coordinator Kenneth Farris, Theater Staff Subscription Assistant Maintenance/Security sr._rvisor Suzette Briscoe , HOUSE PHOTOGRAPH ER Ronald Greene, Director of Bren a Joyner, Theater Staff Subscrih,tion Assistant Martha Swope & Associates Security/Maintenance Supervisor Ann Murp y, Marketing Consultant Carol Rosegg, William Gibson, Joseph Patterson, Supervisor Production Blanche Mackey of Cleaning Services Colman Rupp, Production Manager PERFORMING ARTS PROGRAMS Gabriel Antonella, Asst. Director Jonathan Secor, FOR YOUNG PEOPLE VI DEO ARCHIVIST of Security/Maintenance Production Coordinator Leanne Tintori Wells, Director Character Generators Egerton Kelly, Supervisor Mark London, John L. Ormond, Associate Director Michael Schwartz, Sadie Vinson, Assistant Supervisor Production Coordinator of Programming Mark Robison Collie Dean Judy Zimor, Assistant Production Sharon M. Schwartz, Associate Ray Dorso Coordinator Director for Education SOUND CONSU LTANT Donald Farr Caitlin Barton, John Malatesta, Program Assistant Abe Jacob Matthew James Production Office Manager Francine McKenzie, Benjamin McDonald Don Riordan, Crew Chief Education Assistant MEDICALCO NSU LTANTS Sheraf Moustafa Opera House Jonathan Lorch, MD Ron Rathan Jack Fuller, Head Electrician PLANNI NG AN D DEVELOPMENT Jordan S. Josephson, MD Roberto Solis Patrick McDonald, Development James Victor Master of Properties Denis Azaro, LEGALCOUNS EL Haskell Walker Cyrus Similly, Head Carpenter Director of Development Colton, Hartnick, Yamin and Harold Heath Timothy Fuller, Flyman Jacqueline A. Kravetz, Sheresky HVAC and Repair Services James D' Adamo, Electrician Development Manager George Hoffer, Chief Engineer lewis Resnick, Electrician M. lourdes Marquez, INSURANC E Leonard Abbruscato, Thomas Paulucci, Sound Engineer Development Associate Marsh & McLennan, Inc. Supervising Maintainer Playhouse Brian Grundstrom, Fiscal Manager Courtney Harris Howard Larson, lisa Rodriguez, Administrative ACCOUNT ANTS Bernard lawrence Head Electrician Assistant to the Executive Lutz and Carr Ernest Southerland, Maintenance James Kehoe, Head Carpenter Vice President Parking Facilities Lepercq Space Membership Lazaro Curate, Parking Facilities Chris Butts, Head Electrician Daniello Amato Milligan, Manager Edward Conti, Wardrobe Supervisor Director of Major Gifts TO THOSE WHO HAVE PASSED ON TO THE ANCESTRAL GROUNDS, WE WILL NOT FORGET YOU OR YOUR CONTRIBUTIONS TO THE WORLD.

ASE! ASE! ASE!

Charles Abramson Moses Mims Alvin Ailey Bill Moore Ismay Andrews Charles Moore Aamon Baxter Babacar Niang Kolawole Balogun Kofi Nkrumah Ayodele Elaine Beener Afinya Odak LaRocque Bey Noni Olaniyan John Blandford AI Perryman Percival Borde Larry Phillips Marion Brown Ronnie Pratt James Butler Ruby Pryor Halika Harriet Clegg Pearl Reynolds Joe Commodore Early Scott Assadata Dafora Eddie Spencer Joseph Solomon Deas Ron Taylor Gregory Myles DeJean Alyo Tolbert Aquasiba Derby Peter Tumbleston Michelle Fennell Jimi Williams Syvilla Forte Lavinia Williiams Aaron Frazier Tony Williams Alex Haley Lester Wilson Thelma Hill Raymond Taylor Mama lnce Nana Adowa Oforiwaa Clinton Jackson Tom my Johnson Robert Hudson Alfonse Cimbe William McPhearson NANA OPARE YAO DINIZULU